Hubert Jocham Design

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Hubert Jocham - Blog
Updated: 46 min 34 sec ago

Christmas Free Font

10 May, 2008 - 9:17am
Since the beginning of December very many people have registered and got a copy of Xmas Rudolph.
Thank you for many nice and friendly comments about the font on the blog and by email.

Most of the registrations were honest. Only a few did not register the way they should have.
For some strange reason many of those are german, according to the email address that was necessary to get the font.

The Xmas-Rudolph-Offer will end on christmas. Go and get your copy!

Merry christmas and a happy new year to everybody!

New Typeface Alida

8 May, 2008 - 12:17pm
A san serif is easy in one way. You have a vertical stroke that ends like a square. Most of the time the outline is even. There is not much happening at the border of black and white. In the 19th century when the sans serifs got popular people called them GROTESQUES. Not used to the forms of the sans they might have thought, there is something missing, something cut away, not complete.
In the last few years I worked more on serifs then on sans serifs. One of the first things you discover when doing this, is that the spacing is completely different. The serifs and other elements create other shapes and a much more complex system of proportion. Many more decisions have to be made and many more form components have to be designed and be harmonized.
For me as a designer who still grew up in this German Bauhaus/HFG athmosphere where less was always more, this experience is very interesting. When your approach is always less is more you loose the ability to design complex compositions. You tend to take things out that might have been important.
Dont get me wrong. I still love sans serifs and I am working on a new one at the moment. But serifs are much more challenging.

The first ideas of Alida I had about two years ago. It started with a display serif with thin hairlines and thin but clear serifs. For a long time I did not know what to do with it. Usually I tend to work very quick on a typeface, because I think that keeps life and character in the stroke. With Alida several new approaches were needed to finally find the right way for it. So it took its time.

Alida for text has got 7 different weights with italics and smallcaps and a display version with 7 weights and italics







At the end I decided to keep both roots the display and the text.



(Display, Text, Display-Italic, Text-Italic)


I know, the »s« in the display version is quite eccentric.
(from left to right, Display, Text, Display, Text, Display, Text)

Smallcaps are available for the text version



I am thinking of a sans serif, but I am not sure yet



Alida Text

Alida Display

Voice with Smallcaps and Oldstyle Figures

8 May, 2008 - 6:17am

Voice has been published December 2005 in the URW++ library.
But after I decided to build my own shop it is now available only here.
The new oldstyle figures and smallcaps version has the extention OS






The idea of Voice started with a simple, easy to use, easy to space, easy to scale sans serif. I spent quite a bit of time finding the right shapes for the lower case. The way the strokes end in the a, the c, the e and the s tell a lot about the structure of the lower case.

In a typeface like Helvetica the stroke-ends those letters makes them look very closed up.



The other extreme is Argo with open almost horizontal ends.


In Voice  a, c, e and s therefore play an important role in the rhythm of the whole typeface. To keep the spacing simple those letters needed to fill their space without the need of much kerning.

That also helped to design an extreme Ultrabold.


Ascenders, descenders and proportion are relatively compact for the use in narrow columns with tight leading as well as headlines.

The basic sans serif has got two variants. Called Voice Edge and Voice Shoulder. Little alternations to the stroke of the lower case lead to very different styles.

There is one serif for all variants


Every family has got 9 weights with italics and in the OS/SC version (oldstyle figures/smallcaps) all 9 weights with smallcaps


There are 3 kinds of figures in the typeface. normal lining figures in the basic families.
Oldstyle figures and smallcaps figures in the OS families.


Lining figures, currency symbols and mathematical symbols have the same width.



Voice
VoiceEdge
VoiceShoulder
VoiceSerif
TeleVoice

VoiceOS
VoiceEdgeOS
VoiceShoulderOS
VoiceSerifOS
TeleVoiceOS

Packaging Design Konferenz 7.-8. Dezember 2006

8 May, 2008 - 6:17am
I will be there and talk about Typography in packaging brands. Apart from some cases I will show in detail I will try to show how type works on packaging and the elements that make a brandmark unique.


LegauSans

25 April, 2008 - 6:17am
The design of a typeface often takes a long way. You always start with a idea, maybe one element. Gradually it develops into a complex system of form and proportion. Sometimes the initial idea vanishes at some point.

Legau started as a redesign, but the final typeface is quite unique. That is the reason why I avoid to talk much about the stages of the development.

Legau has got quite some contrast. The end of the stroke is always vertical or horizontal and in most cases sharp.

LegauU with an upright or neoclassic angle in the round characters. It seems most organized and in control.
LegauA with an oldstyle stroke in the round characters. It seems naturally warm and caring.
LegauR with a flipped angle in the round characters. It seems disturbing and adventurous.

Every alternate lives in a different athmosphaere.

In copy you should not get heavier than Heavy. Extrabold and Ultrabold work best in display.


By the way:
The new typeface Verve I have published a few days ago, had to be renamed because there is already a font called Verve. Now it is called VerseSans and VerseSerif









TDC Award

23 April, 2008 - 9:17am
Mommie selected in the TDC2 2008 Type Design Competition
and is Christian Schwartz personal »Judges Choice«
http://www.tdc.org/news/2008Results/Mommie.html



In the early 1980s, at the start of my career, I worked in a print shop with classic lead setting. In those days I would study issues of U&lc magazine. What really caught my attention were letterings in the Spencerian style. I’ve been fascinated by this American penmanship tradition ever since. A few years ago I developed a font. Boris Bencic used it when he was redesigning L’Officiel magazine in Paris. I took these initial forms and developed them into the font “Mommie” when I started my own foundry. Although I usually design text typefaces, working on “Mommie” taught me how complex it can be to create a script headline font. Characters need to overlap in harmony and I can’t remember how many versions I did for the caps. The biggest challenge in this process has been to keep it alive and fresh.

Because Mommie Regular only workes in very big sizes I have extended the family with a Medium and a Small.

Mommie

on top of that I am glad to publish MommieBrush

The curves of Mommie are so lively. It is worth to transfer them to another stroke. So I designed this brush version. Naturally the Swirl had to be taken away. Although the you can feel the stoke of Mommie the usage will be different. There are 3 weights from Regular to Bold.

New Typeface Volt

23 April, 2008 - 7:17am
Like Alida Volt is also a concept I have carried with me for about two years.
Starting with only the alternate version it did not work as a useful sans serif.
So i had to narrow it down to a more conventional basis with a full vertical stroke at the letters a, b, d, g, m, n, p, q, r and u. The curved endings follow the form of the round parts. I only added them where they cleared the situation.
Only a few near the baseline and some more at the ascenders and the upper part of the x-height. In some elements you feel the classic penstroke.

First I called it Strom (the german word for electricity) because I was inspired by the brandmark of the german energy supplier e-on. So now it is called Volt the german word for Voltage.





Since Barmeno and Dax came along there are many new typefaces with similar stroke behavior.

One of the first fonts in that manner was designed in 1930. Bernard Gothic by Lucian Bernard for ATF. There is Prokyon by Eberhard Kaiser, who even claimes to be the first who designed in that way.

On a few concepts like Oktober and June and later in my typeface Voice I dealed with those elements.

Ingo Preuss from German Type Foundry just released a sans serif called Phoenica.
And there are many others.

I would not give anybody the credit of inventing this principle.


Bernard Gothic 1930


Barmeno 1991/Dax 1996


Prokyon 2002


Oktober 1994/June 2000


VoiceShoulder 2005


Phoenica 2007, http://www.germantype.com/cms/front_content.php?idcat=74



Volt is basically built on this idea. I tried to give letters like the »n« a certain dynamic by keeping the left upper part quite low and the right upper part quite high. It follows the classic penstroke. By skipping the »b« to get a »d« (with corrections) the element move away from the classic pen and give the x-height a certain rhythm and contrast.
But for legibility the x-height feels to jerky. To calm this I tried to make all lower case letters quite static.

At the end I decided to keep both version. an eccentric and a serious.


Volt Alternate, n, »b« skipped to get a »d«


jerky x-height, first line



Volt, the serious version





Volt with Alternate 9 weights with italics

Volt Basic
Volt Alternate

RSS

19 April, 2008 - 10:17pm

NewLibris

19 April, 2008 - 10:17pm



The first Ideas for Libris I had, when I was working with Boris Bencic on the first issue of Frank magazine back in 1997.
Later Libris was used in Frank as well as for Bally as a corporate typeface. The family was never really extended. I did an ultralight and a thin version for W magazine. Now I have published a big Libris family including 11 weights with italics.


Form Cover

19 April, 2008 - 10:17pm
The brand new edition of Form magazine is dealing with packaging design.

Gerrit Terstiege the editor asked me to give an interview about packaging and design the cover.
I really enjoyed that, because this cover is quite unusual for form magazine.



Verse Sans and Serif

19 April, 2008 - 6:17pm
In 2006 the art director of emotion, a womens psychology magazine, asked me to design a copy typeface for them. Before I actually got the job I started to work on a serif. I wanted it to be feminine but still clear and modern. On one hand there are the floral round elements and on the other hand the angular serifs.

In the composition I wanted the two extremes to work together. All the other elements had to be harmonized.

The proportions needed to serve magazine requests. The ascenders and descenders are short enough to work in narrow columns but long enough to work in small sizes.

As you can imagine, the emotion-job never happened. Verse is now a serif and a sans serif with 7 weights with italics and smallcaps.

VerseSans
VerseSerif

For Tradmark reasons I had to change the name Verve to Verse





Christmas Font 2006

19 April, 2008 - 12:17pm
Since Oktober 2006 it is possible to regularly licence my typefaces on my new website.
Now, for all my customers and everybody who is interested, I have a little christmas present.

Rudolph, a Serif for display in a christmas version. After Registration you will get it for free. You can use it for all non commercial project, like your christmas cards. For commercial usage you can licence a version without stars.

To order XmasRudolph is a good opportunity to try the shop system without payment.

go and get it...